adisneysketch:

Concept Art & Storyboard Art from Mulan:

Mulan sketches by Chen-Yi Chang

Storyboard Art by Dean DeBlois

Art from “The Art of Mulan”; published 1998; Text by Jeff Kurtti

19 Apr 14 @ 1:00 am  —  via + org  —  reblog
18 Apr 14 @ 11:00 pm  —  via + org  —  reblog
stopdropandvogue:

Backstage at The Blonds Fall/Winter 2014 photographed by Taylor Aube

stopdropandvogue:

Backstage at The Blonds Fall/Winter 2014 photographed by Taylor Aube

18 Apr 14 @ 10:00 pm  —  via + org  —  reblog

estrella-fuego:

50shadesofvega:

hazeleyed1:

fer1972:

Analog Tele-Phonographers’: iPod Amplifiers made from old brass instruments.

O_O

I have a strong need for this

can I haz??

18 Apr 14 @ 9:01 pm  —  via + org  —  reblog

legalmoretz:

how long does derek wait in the shadows coming up with one liners before deciding which is the best

18 Apr 14 @ 8:01 pm  —  via + org  —  reblog
otp221b inquired:

Ever wonder to where Sherlock moved John's chair?

loudest-subtext-in-television:

deducingbbcsherlock:

…..

well, shit. I hadn’t. Excellent question.

Ok, I’ve pulled up the scene at Baker Street at the beginning of HLV. First thing I noticed:

John: “Hey, what happened to my chair?”

Sherlock: “It was blocking my view to the kitchen.”

John: “Well, it’s good to be missed.”

Sherlock: “You were gone, I saw an opportunity.”

John: “No, you saw the kitchen.

Soooo apply the classic Sherlock food/sex metaphor there, and…yeah. Mmm-hmm.

I’m really starting to believe that anytime there’s dialogue in this show that’s funny/silly, or that sounds like an odd use of language or anything, it’s because there’s a deeper, subtextual meaning that the writers are almost trying to distract us from. In this case – on the surface it sounds like Sherlock’s just kind of goading John. Why would he want a “view” of the kitchen? But then you apply the food/sex metaphor:

John’s gone and suddenly Sherlock sees what he’s missing. 

Moving on…

Sherlock doesn’t mention what he did with the chair at all. However, he does allow everyone to believe his bedroom door is closed because he’s hiding drugs. Of course, we know Janine is in there. Everyone but John leaves, and Sherlock heads off to take a bath. Right before closing the bathroom door, he calls to John:

"Stay out of my bedroom."

Okay, bear with me here, but this is what I think:

1. John’s chair is pretty large and looks like it’d be fairly awkward for one person to move. Sherlock obviously didn’t get rid of it, as he brings it back after Mary shoots him. It stayed in the apartment. The only options are his and John’s bedroom. 

2. John’s bedroom is upstairs – massive pain in the ass to lug it up there. (Unrelated: will we ever see John’s effing bedroom? EVER? This is essential to my emotional and mental health. Anyway.)

3. When John sees his chair back in its place, he asks Hudders about it (to be specific, the way he words it is “why does Sherlock think I’ll be moving back in here?” and she says “oh yes, he’s put your chair back, hasn’t he?”). So Hudders didn’t move it.

(3a. WTFFF that is a weird and interesting leap of logic John made right there – that his chair being back means Sherlock thinks he’s moving back? worthy of its own meta…)

4. Sherlock escaped from the hospital in a great deal of pain and moved that fucking chair back himself. (Christ.) The only place it could be is his bedroom. He could never have lugged it up and down the stairs. And it probably cost him a great fucking deal of pain to do it, but he did it for John. Kind of symbolic of this entire season.

*pauses to pour shot of sorrow drowning whiskey*

5. So speaking symbolically:

  • John’s chair represents John.
  • Sherlock’s “view of the kitchen” (food=sex) was “blocked.”
  • With John/John’s chair gone, Sherlock saw what he was missing.
  • And he put John’s chair in his bedroom.

6. When he goes into the bathroom and tells John to stay out of his bedroom, it’s not because Janine’s in there. Sherlock WANTS John to find out about Janine. He clearly enjoys John’s reaction to that later on. So…

7. Sherlock didn’t want John to see that he’d put John’s chair in his bedroom because it means John is now welcome in there.

image

ETA:

A few of you made some super insightful observations and I have some additions to make.

Billy – excellent point, and yeah, Sherlock totally could’ve had Billy help him. (I wasn’t entirely convinced Sherlock could move the chair in that condition even an inch, let alone from his bedroom, so I HOPE Billy helped.) However, his choices when he first moved the chair (pre-Billy) were his bedroom or John’s. Considering the inconvenience of the stairs and the sentiment, I still want to say it’s in Sherlock’s bedroom.

Then someone asked if we could see the chair when Janine opens the door. Beautiful question! Because goddamn, wouldn’t that just be symbolic as all hell. So I made some gifs.

image

That’s as wide as she leaves it, so all we can really see is the lamp and the painting. (Subtext reading: she leaves the door open.)

image

Okay, look closely…to the right of the lamp, there’s SOMETHING there. Hard to tell. (Subtext reading: door’s still open, John.)

At this point I decided to revisit the only (only?) time we’ve seen Sherlock’s bedroom (someone correct me if I’m wrong) to check out the furniture. Interestingly, JOHN IS IN THE ROOM TOO. It’s in ASiB, when Sherlock’s been drugged and beaten by Irene and wakes up calling John’s name. (Subtext reading: ….asdkfjasdfjadfj)

I had to mess with the lighting to see objects in this scene because it was so dark - sorry it looks weird. Also, the camera work here makes it confusing (for me, at least) to get an orientation on where we are (especially with Sherlock stumbling around). Here’s John opening the door:

image

That lamp? Definitely the same one up there behind Janine. Only now it’s much further to the left – no way could you see it down the hallway. 

Conclusion: the lamp, and possibly other pieces of furniture, have been moved since ASiB.

Here’s the only shot I could get of the other corner of the room. 

image

There’s a chair! And a mirror. (It freaked me out because both of those things were entirely hidden in shadow until I adjusted the exposure.)

ETA: Huge thanks to My Little Corner of Sherlock for pointing out that we do OF COURSE see into Sherlock’s bedroom in s3 – both in TEH and TSoT. How could I forget “into battle”??!

image

So here, the wardrobe is in the same place, and the picture, and I see that lamp behind it…and there’s a very small chair (he throws his robe on it). Looks like a different chair from ASiB. 

Now back to HLV. When John moves out of the way so we can see inside the room (#symbolismoverload), lookee here…

image

I did everything I could to sharpen that up, but this is as close as I got. It’s a tiny bit clearer in a screenshot.

image

Conclusive proof? Not even close. But that thing 1. is not at all shaped like the chair in ASiB or TSoT and 2. is the faded red color of John’s chair. And remember, the lamp was moved, so other things may have been moved. In fact, it would make sense for Sherlock to actually replace that chair with John’s, if he did move John’s in there. Not logical to have two chairs taking up space.

I know this is wayyy overspeculating. But the thing is, we are supposed to remember that John’s chair is absent from the living room. We get this shot a lot later in the scene. It’s so off, so odd – Sherlock in his chair, facing us; John perched on the table, facing him; so much space and furniture (and the skull I associate with Mary) between them. So unlike stag night from the previous episode.

image

So yeah. My headcanon is that that effing chair was in Sherlock’s bedroom, and John doesn’t know it. But fear not! Because this

image

is the last time we see it, and the door’s still open for John.

THIS YES

18 Apr 14 @ 7:01 pm  —  via + org  —  reblog
18 Apr 14 @ 6:01 pm  —  via + org  —  reblog

Allison Argent is gone. A ghost of Beacon Hills’ past. 

18 Apr 14 @ 5:01 pm  —  via + org  —  reblog
maidsofbondstreet:

Iesha Hodges at Moncler Gamme Rouge, fall 2014

maidsofbondstreet:

Iesha Hodges at Moncler Gamme Rouge, fall 2014

18 Apr 14 @ 4:02 pm  —  via + org  —  reblog

gyzym:

six fanfictions i am currently craving: 

  • the steve rogers and bucky barnes are really mad about these newfangled bananas show, starring steve rogers and bucky barnes, who are really mad about these newfangled bananas
  • this same fic, five more times

18 Apr 14 @ 3:42 pm  —  via + org  —  reblog

azertip:

Thomas Blackshear’s

18 Apr 14 @ 3:01 pm  —  via + org  —  reblog

gyzym:

It’s increasingly my headcanon that Danny’s parents met when Mr. Mahealani came to Beacon County seeking Bigfoot. “CALIFORNIA IS BIGFOOT COUNTRY,” Mr. Mahealani insisted, sloshing a little bit of whiskey over the side of his glass as he gesticulated excitedly. “AND THIS IS THE WEIRDEST COUNTY IN CALIFORNIA!!! IT’S THE NATURAL PLACE FOR BIGFOOT TO BE!!” Mrs. Mahealani — not Mrs. Mahealani then, of course, just the bartender with the luck to pull the closing shift that night — lifted an eyebrow, unfazed, and tried to tune him out while she wiped down the counter. The weirdest fucking people came into this bar late at night (even if this particular weirdo was kind of cute).  

Twenty-seven years later, Mrs. Mahealani is still lifting an unfazed eyebrow at her husband’s antics, Mr. Mahealani is still sure he’s on to something, and Danny knows everything there is to know about everything, just not why anyone cares. His dad’s got a whole library of stuff he’s found out by accident — it’s not what he’s looking for, but it’s still cool — but Danny and his mom both view it all as his dad’s weird hobby and try not to think about it. They have been dragged on 14 family camping trips looking for Bigfoot.

18 Apr 14 @ 2:01 pm  —  via + org  —  reblog
❝ Gay marriage advocates brush aside generations of queer efforts to create new ways of loving, lusting for, and caring for one another, in favour of a 1950s model of white-picket-fence, “we’re just like you” normalcy.
— Mattilda Bernstein Sycamore - There’s More to Life Than Platinum: Challenging the Tyranny of Sweatshop-Produced Rainbow Flags and Participatory Patriarchy (via homo-online)
18 Apr 14 @ 1:01 pm  —  via + org  —  reblog

Red-Headed Woman (1932) dir. Jack Conway

18 Apr 14 @ 12:02 pm  —  via + org  —  reblog

ilana wexler | season one

18 Apr 14 @ 11:01 am  —  via + org  —  reblog
OS